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Mapping Digital Landscape

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Mapping Digital Landscape MAPPING DIGITAL LANDSCAPE NARRATIVES Exploring The Use Of Social Media As A Passive Form Of Community Engagement In Landscape Architecture A case study of the Festival du Voyageur By Blaise Lachiver A practicum submitted to the Faculty of Graduate Studies of the University of Manitoba. In partial fulfillment of the requirements of the degree of Master of Landscape Architecture. Department of Landscape Architecture University of Manitoba Winnipeg, Manitoba Copyright © 2016 Blaise Lachiver ABSTRACT This practicum develops the concept of Mapping Digital Landscape Narratives. It is an exploration of the use of social media as a passive form of community engagement in landscape architecture. Digital landscape narratives are stories about places that are created collectively by various agents, including people, groups, organizations and communities through the Internet and the use of social media. A case study of the Festival du Voyageur in Winnipeg, Manitoba is used to explore the potential of social media as a tool in planning and design. This practicum explores the importance of social media to participatory culture. An understanding of landscape narratives is developed, and contemporary forms of representation are explored. The document explores three forms of data including original social media data, such as photographs and videos, metadata such as hashtags and locations, and social network data, which is created when people interact on social media. Research into mapping, social network analysis and online privacy outline best practices for researchers and designers of public space. A study of the Festival du Voyageur’s programming, along with an interview with the festival’s planning staff, establishes a conventional data set that outlines the festival on a city scale, a neighborhood scale, and the scale of the festival grounds. Social media data from Facebook, Instagram and Twitter are mapped and analyzed to create a complimentary data set. Ultimately an overall complex narrative is developed describing the festival from various points of view at various locations. i ABSTRACT ACKNOWLEDGEMENTS I would like to acknowledge all of the eudcators and advisors who assisted with my academic career. Thank you all for the inspiring lectures, lessons, trips and studios. I would like to thank my committee for their critiques, motivation and for believing in this practicum. To Bob Somers, for showing me the practical potential of this practicum, and for seeing opportunity in an idea. To Dr. Lawrence Bird, for bringing a high level of experience and understanding of mediated environments, and excellent critical analysis. To Dr. Karen Wilson Baptist, for the believing in an open ended idea and for pushing me outside of my comfort zone. And thank you for years of patience. To the staff at the Festival du Voyageur, thank you for taking the time to meet with me. To all those that volunteered their photographs from Instagram, thank you for your effort and beautiful work. To my parents, for becoming landscape architects at heart, and for encouraging me to follow my dreams. And to Marie, for supporting me through every struggle and for celebrating every victory. You inspire greatness. ACKNOWLEDGEMENTS ii TABLE OF CONTENTS CHAPTER 1: Literature Review & Concept Development 1.1. Introduction 1 1.6. Social Network Data 18 • Digital Landscape Narratives • Social Network Data • Social Media Data – Original Data • Working with Social Networks • Metadata • Social Network Data 1.7. Mapping 20 • Participatory Culture • Map - Noun • Research Context • Mapping – Verb • Corner’s Mapping Operations 1.2. The Relevance of Social Media 5 • Subjectivity of Maps • Social Media & The Internet • Connecting Social Media & Landscape Architecture 1.8. Social Network Analysis 23 Through Participatory Culture • Defining Social Network Analysis • Defining Social Media & Its Limitations • Network Visualization • Graphical Markers 1.3. Landscape Narratives 8 • Functions of Network Visualization • Defining Landscape Narrative • Principles of Network Visualization • Applying & Reading Landscape Narratives • Network Architecture & Actor Network Theory • Lafayette Square Park • Types of Landscape Narratives 1.9. Social Media & Privacy 28 • The Ethics of Social Media Research 1.4. Representing Digital Landscape Narratives 11 • The Private Studio • Photography and Digital Landscape Narratives • A Consequentialist Approach to Privacy • Film Photography • Digital Photography 1.10. Chapter Conclusion 30 • iPhoneography 1.5. Metadata 16 • Defining Metadata • Hashtag & Folksonomy iii TABLE OF CONTENTS CHAPTER 2: Data Anlysis & Operations 2.1. Chapter Introduction 32 2.7. Original Data Analysis 73 • Qualifying & Quantifying Data 2.2. Festival du Voyageur 34 • Contacting Festival-goers • Origins of the Festival du Voyageur • Journaling Data Analysis • Festival Infrastructure • Programming & Activities • The Modern Festival • Snow Sculptures • Voyageur Park • Families • The Festival on a Neighborhood Scale • Special Content • Food • Language & Culture 2.3. Interview with the Festival du Voyageur 51 • Planning the Festival du Voyageur • Temperature & Weather • The Festival du Voyageur and Social Media • Negative Comments • Location 2.4. Social Media Platform Analysis – Central Data 54 • Facebook Page Analysis 2.8. Conclusion 89 • Instagram Account Analysis • Twitter Account Analysis References 91 2.5. Social Network Data Analysis 57 Appendix 94 • Facebook Page ‘Like’ Network • Facebook Page Post Network • Twitter Network Data Impasse 2.6. Metadata Analysis 66 • Metadata Analysis • Geo-location Analysis TABLE OF CONTENTS iv CHAPTER 1: Literature Review & Concept Development 1 CHAPTER 1: LITERATURE REVIEW & CONCEPT DEVELOPMENT 1.1. INTRODUCTION Digital Landscape Narratives Metadata Digital landscape narratives are stories about places that The second type of data that I will look at is metadata – are created collectively by various agents, including people, groups, the data about data (Coyne 2012, 164). It is the metadata that organizations and communities through the Internet and the use of characterizes the original user created content. This information social media. Landscape architects can harvest, curate and map includes locations (geo-locations), descriptions, categories tags, the vast amounts of user created data that is found and shared nomenclature, people/users, and databases. This metadata can be on social media platforms to open up the design process to larger automated at the point of creation of the original data, it can be groups of people, embracing participatory culture in landscape computer generated, and can be added by a user or the creator architecture. Everyone has a story to tell; we all have experiences, of the content, such as a tag (or tagging system). Metadata, while ideas and opinions, and social media has become a popular mode present within the data, is often not immediately visible to the for narrating our lives. These accounts transpire in places and average user. However, with a quick web-search, vast amounts of spaces, and provide landscape architects and designers of public metadata can be uncovered, allowing landscape architects to collect space with new and abundant forms of data, because each place and organize such information in meaningful ways that present an has a narrative that is generated by various agents – everyday overview and understanding of the original content, whether about people, the narrators of landscapes. The purpose of this chapter an individual, group, community, topic, issue, place, or landscape. is to review pertinent literature, identify key themes, establish a Perhaps an overarching theme, idea, or opinion that was not study methodology, research conventional terms and practices previously evident will present itself, or perhaps the designers’ and explore ethical boundaries, including issues of copyright and views, opinions, or thoughts about a place will be confirmed and privacy. reinforced. As a qualitative method, metadata research presents an amazing opportunity for landscape architects to uncover and recognize meaningful patterns in social media data about places Social Media Data – Original Data Landscape architects can harvest data from social media and the people within them. This information is crucially important to better engage clients and citizens – the users of public space. to understanding a landscape’s digital narrative. In the Data Analysis The information available through social media appears in many & Operations chapter of this practicum I will uncover and apply forms of data. The original data, where the first and most apparent metadata to filter the original data and focus the narrative on the layer of narrative emerges, is the user-created content that is shared landscape in question. through social media sites. These data are the Tweets, Status Updates, blog posts, web-links, photographs, images, captions, comments, and all other forms of user created content that are shared through social media platforms. Through the use of filters, designers and planners can sort the content by location or place, such as a specific landscape like a park or a neighborhood, or based on a landscape topic, such as Winnipeg’s Rapid Transit debate or an event such as the Franco-Manitoban Festival du Voyageur. By focusing the data, collective place based or topic based narratives can emerge. This practicum will apply original social media data to construct and present a digital landscape narrative. 1.1. INTRODUCTION
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